The Art of Teaching in the Museum
The Art of Teaching in the Museum
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博物馆的教学艺术
DOI：
10.1353/jae.2005.0001
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发表时间：
2005
期刊：
影响因子：
--
通讯作者：
Elliott Kai
中科院分区：
文献类型：
--
作者：
R. Burnham;Elliott Kai
在洛杉矶的J·保罗·盖蒂博物馆的画廊里，一个班正在学习伦勃朗的一幅小画。博物馆的教育工作者一直在邀请聚集在一起的参观者更仔细地观察，引导学生们了解这幅画本身以及我们研究它的原因。这堂课一点也不被动，事实上，它是生动的。这幅画是《欧罗巴的绑架》（1632），这幅画以细腻的细节描绘了希腊神话中的一个故事，宙斯伪装成一只白色公牛绑架了腓尼基公主欧罗巴。参观者分享了他们的观察，猜测和想法。在课程结束时，博物馆教育者要求参与者推测这幅画的更大意义，说出他们认为这件作品的最终意义，正如他们长时间的讨论所揭示的那样。该小组的经验显然已经超越了讲述一个单一的故事。一位与会者认为，伦勃朗的作品是关于无畏地进入未知的旅行。另一个说，它涉及的故事，灵魂的离开尘世的天堂境界。当课程结束时，人们走近画作，继续他们的讨论。在同一个博物馆里，另一位博物馆教育工作者也在引导一群学生参观画廊。他从一尊罗马的维纳斯雕像开始，接着是约瑟夫·奇纳德（Joseph Chinard）的18世纪法国雷卡米尔夫人（Madame Recamier）的陶俑。对于每一个雕塑，他要求学生只关注一个细节，手。鼓励学生观察和注意雕塑人物的手势，就像他们在研究一个人一样。时间似乎变慢了，因为感知变得敏锐。当学生们开始通过双手的表现力来整体地“阅读”雕塑时，教育者耐心地倾听。小组继续讨论米勒的一幅神秘的肖像画，学生们在画中讨论了爱的本质，
A class is studying a small painting by Rembrandt in the galleries of the J. Paul Getty Museum in Los Angeles. The museum educator has been inviting the assembled visitors to look ever more closely, guiding the class toward an understanding both of the painting itself and of our reasons for studying it. The class has been anything but passiveindeed, it has been lively. The painting is The Abduction of Europa (1632), a picture that depicts in delicate detail a story from Greek mythology, the kidnapping of the Phoenician princess Europa by Zeus in the guise of a white bull. The visitors have shared their observations, speculations, ideas. As the class concludes, the museum educator asks the participants to speculate on the painting's larger meaning, to say what they think this work is, finally, about, as revealed by their long discussion. The group's experience has clearly moved beyond the telling of a single story. One participant suggests that Rembrandt's work is about the fearlessness of traveling into the unknown. Another says that it concerns the story of the soul's leaving the earthly for the heavenly realm. When the class comes to an end, people move closer to the painting and continue their discussions. In the same museum, another museum educator is also conducting a group of students through the galleries. He begins with a Roman statue of Venus, followed by an eighteenth-century French terra-cotta bust of Madame Recamier by Joseph Chinard. For each sculpture, he asks the students to focus on only one detail, the hands. The students are encouraged to observe and take note of the sculpted figures' gestures, much as if they were studying a person. Time seems to slow as perception sharpens. The educator listens patiently as the students begin to "read" the sculptures as a whole through the expressiveness of the hands. The group moves on to a mysterious portrait by Millet in which the students discuss the nature of love, and